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May 2014

May 31, 2014

Astute fashion observers quickly realize that fashion is cyclical. Silhouettes, colors, motifs, and styles disappear, only to reappear years, or even decades, later. Some styles, like the diaphanous drapes of ancient Greco-Roman dress, seem to inspire more revivals than others. Based on the soft, unstructured garments of ancient Greece and Rome, classically inspired dress appeared at the turn of the nineteenth-century, and again as the century drew to a close.

In the last decade of the nineteenth-century, gowns inspired by antiquity offered a respite from the constricting understructure, heavy embellishment, and bright colors of contemporary fashionable dress. Because it typically incorporated fewer, less restrictive undergarments, this "new" style was considered a healthful alternative. Its promoters also considered it more beautiful than popular styles; to distinguish it from fashionable dress, the style was often called artistic dress. Unlike fashionable dress, late-nineteenth century classical dress revivals were less subject to the changing whims of fashion. By design, artistic dress featured fewer datable details; it was a style designed for the ages.

Evening ensemble 1890s Gift of Steven Porterfield 2007.897.6AB

Artistic dress was donned by women with the courage to forgo conventional fashion. Seasonal trends, mass production, and corporeal contortions were or no interest to the artistically inclined. Instead, they preferred the ease of movement offered by flowing, hand-crafted garments reminiscent of antiquity. The appeal of the antique was summarized in Harper's Bazar in 1891: "Greek costume has in it somewhat of the dignity, the simplicity, and the truth of nature."1

This extremely rare, formal evening ensemble was custom made and is likely the unique creation of a French or English couture house. It features an asymmetrical himation—a diagonally draped mantle worn by Greco-Roman men and women millennia ago. Hand painted field-lilies meander over the supple silk crepe, embroidered with a classical Greek key motif in glistening silver bouillion. Hand-blown mercury-lined glass beads cascade down the diaphanous chiffon undergown that falls unimpeded from bosom to hem over a flesh-colored lining. The lightweight textiles rippled around the body in movement, molding to the wearer's statuesque contours in emulation of sculpted cloth in Hellenic statuary.

Detail of hand-painted himation with Greek key motif worked in silver bouillion

Though artistic dress had many supporters, it was sometimes scorned. In 1897, an article in Godey's Magazine pointed out the absurdity of "stenographers and shop-girls trailing their classic robes in New York slush."2 In other words, though classically inspired dress might have been an improvement over the corsets, bustles, and petticoats of fashionable dress, it didn't necessarily improve the life or comfort of the average woman. Furthermore, as noted previously, wearing artistic dress meant bucking societal conventions, not something every woman would do willingly. For this reason, artistic dress was a style worn primarily by those with a devil-may-care attitude.

May 28, 2014

FIDM Museum curators are currently seeking an intern or volunteer to assist with research for an upcoming exhibition and catalogue on women's sportswear from 1800-1950. The project will begin in summer or fall 2014, depending on the availability of the selected applicant. This unpaid position is part-time, with flexible hours. Must have some experience with image and primary source research.

Benefits include the opportunity to work closely with FIDM Museum curatorial staff and the opportunity to view rare examples of historic and contemporary fashion. Curatorial staff will work closely with the successful applicant to hone his or her research skills.

To apply, email your resume, letter of interest, and available hours to internships@fidmmuseum.org. Application materials are due June 4, 2014. All applicants will be notified of their status by the end of June 2014.

May 21, 2014

Want an unforgettable look behind the scenes at the FIDM Museum? Led by one of our talented curators, these one-hour tours take visitors inside our state-of-the-art storage facilities. Tours are tailored to meet the specific interests of your group. Fascinated by 1920s evening gowns, the designs of Christian Dior, or costumes from Hollywood's Golden Years? Interested in learning more about how to care for your heirloom garments? We'll work with you to design a unique, informative tour based on your area of interest. Participants will also get the scoop on upcoming FIDM Museum exhibitions.

Tours are available Monday–Friday by appointment only, with minimum 48 hours advance notice. Behind the scenes tours are limited to a maximum of fifteen people per group; a $20 per person fee applies. For groups of fewer than ten people, a $200 fee applies. To schedule a tour, contact the Curator’s Office at 213.623.5821, x3367.

May 16, 2014

With a low, curved neckline and short sleeves, this silk gauze dress was meant for evening. Day dresses of this era featured long sleeves and modest necklines, but evening dresses featured alluringly low-cut necklines that exposed neck, shoulders, arms, and décolletage. The bodice is shaped by vertical bust darts and interior boning. As was typical of 1850s evening bodices, it fastens at center back with a hook and eye closure.

The symmetrical fullness of the bell-shaped skirt is controlled by cartridge pleats at the waist. The skirt is embellished with three flounces, each one slightly wider than its predecessor. Cascading layers of flounces were a key feature of 1850s skirts and can be used to date dresses to this decade. Often featuring a contrasting print, fringe, or tassels, these flounces emphasized the horizontal plane, making already full skirts appear even fuller. Three rows of mini-flounces on each short sleeve echo the skirt's full silhouette.

Until the development of the cage crinoline in 1856, bell-shaped skirts were achieved with layers of petticoats. Women reportedly wore as many as six different petticoats at a time! Layered petticoats were unwieldy, awkward, and heavy. The lightweight cage crinoline, a series of graduated steel hoops, held together with thin, vertical strips of fabric, allowed women to achieve the fashionable silhouette without layers of cumbersome petticoats. Relatively inexpensive and easy to manufacture, cage crinolines were worn by women at all economic levels. They remained popular until about 1868.

Skirt detail S2011.1087.189

The green paisley, or boteh, decorating the flounces was a popular 1850s decorative motif. Borrowed from hand-woven Kashmiri shawls that became popular in Europe during the late 18th century, it was derived from floral forms. Woven in Kashmir and imported to Europe and North America by the British East India Company, these shawls were popular dress accessories. By the middle of the 19th century, European weavers began producing printed and woven approximations of these desirable consumer goods. Paisley, a Scottish weaving town which produced large quantities of the shawls, ultimately lent them an English-language name. Because of their large size, value, and beauty, shawls were sometimes remade into gowns, coats, or other garments. In their unaltered form, they were often worn as outerwear, either as a simple wrap, or a loose cape-like garment. Perhaps this soft green evening dress was once paired with a paisley shawl for a striking evening ensemble.

May 13, 2014

Designing Hollywood: Sketches from the Christian Esquevin Collection June 11, 2014–November 1, 201410am–5pmTuesday through Saturday Free to the public

Designing Hollywood: Sketches from the Christian Esquevin Collection reveals the brilliance of the greatest costume designers of the 20th century through more than 100 original sketches and rare studio wardrobe material. Five themes are explored throughout the exhibition: Studios, Genres, Designers, Wardrobe, and Stars. Costumes from the FIDM Museum collection highlight Hollywood’s mid-century “Golden Age” and showcase the talents of these behind-the-scenes magicians whose on-screen magic continues to inspire film and fashion professionals today.

May 06, 2014

Decorated with butterflies, this charming jacket was made sometime around 1912. During the 1910s, mainstream fashion moved away from the rigid S-bend silhouette of the Edwardian Era (1901-1910). Defined waistlines and full busts moved out of fashion, replaced by a leaner silhouette that de-emphasized bust and hip. By 1912, women's dress had softened, narrowed, and shortened. This new mood was reinforced by a increase in the popularity of softer textiles, including lightweight cottons (lawn, batiste) and a variety of lightweight silks (crepe, chiffon, satin). Linen, used to create the jacket pictured here, was also popular.

Button detail 2012.1186.2

At the time this jacket was made, nearly all types of garments could be purchased ready-made. Though it has no label, this simple jacket was probably a creation of the emerging ready-to-wear industry. With a loose fit and relatively few pattern pieces, it would have been easy to create in a factory setting. The butterflies perched on cuff and collar are machine embroidered, though the starbursts decorating the fabric buttons may have been stitched by hand.

Back view 2012.1186.2

This jacket was probably worn at-home, as a dressing or morning jacket. Instead of donning full day dress immediately after waking, many women of leisure wore at-home ensembles for the first few hours of the day. Seen only by family and household servants, morning dishabille ranged from low-key (a plain muslin gown) to elaborate (a chiffon jacket worn over a loose silk sheath). In 1913, Vogue offered a suitably romantic option, a 3-piece ensemble of matching cap, coat, and skirt made of "primrose-yellow chiffon with a lining of flesh colored chiffon."1